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Sampling boat at location close to Fukushima Daiichi Nuclear Power Station.
IAEA experts visited Japan from 8 to 14 September 2014 and -- together with staff from NRA and the Ministry of Foreign Affairs -- collected water samples from the sea at five locations near TEPCO's Fukushima Daiichi Nuclear Power Station,
The water samples were shared both between the IAEA Environmental Laboratories and the Japanese Laboratories to e=be analyzed independently.
Photo Credit: NRA
1 June 2014. El Fasher: Street children collect disposable water for car washing in El Fasher, North Darfur.
Photo by Albert Gonzalez Farran, UNAMID
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Much the same as with this new sheet: only now really taking off.. But steadily going forward ..
You can find lots and lots of info about this "new" approach to growing food, restoring the natural world.. and just plainly "life" on e.g. YouTube.
23 Jan 1986, Thu (Los Angeles, CA)
Low 40 High 61
Well our last full day. I cannot believe that it is nearly over. Detroit seems like months ago but then so does Disneyland. Our days have just been so full. Heading out under grey skies, we drove down (on the freeway, where else) to Long Beach. Paid $3 to park to see the Queen Mary and the Spruce Goose. After waking into the huge dome and a short slide/sound show (which by the way they are big on over here, they are usually very well produced, I wonder why they don’t make films, probably the expense) the curtains rose and we gazed our eyes upon the largest plane evert built. It was quite a sight, quite a mammoth piece of construction. Walked around it and had a ‘ride’ in the “Time Voyager” an amusing attraction where we sit in an environment similar to that of a picture theatre but supposedly a space ship and go on a test flight into space. It was mainly a light show, oh and our seats moved but ours particularly, only sideways because we were in the back. Also, a little space creature thought he’d be funny, but he wasn’t. We were basically unimpressed. Ventured next door to the Queen Mary, the largest passenger liner in the world and did a basic self-guided tour although we missed a fair bit., Saw the engine room and propeller section, The Bridge (Captain’s position) and display examples of areas as they were, e.g. maid quarters, First Class, the sleeping areas for the troops when it was used as a carrier during WW2. The ship has quite a history. Part of it now operates as a hotel but we did not get to see that part. It poured with rain while we were on the ship and was quite grey and foggy, but it cleared by the time we left around 2.00. It is a nuisance and shame that we cannot give as much time as we would like to certain things. Got back on the freeway and made our way to Beverley Hills. Main drag of Santa Monica Boulevard pretty busy, then to Sunset Boulevard. Got ripped off totally by paying $6.30 for a map of the stars’ homes so drove up and around the hills of those on the map we saw Dean Martins and Walter Pidgeon (I wonder why?). I felt like we were trespassing. All beautiful homes. I felt almost uncomfortable, they must hate tourists. The roads are narrow and windy, and they are is quite maze like. A campus of UCLA sits in the middle (almost) of it all. Got a little lost at times. Peter really has been great. I could never drive in this city, but he handles it really well. Actually, you have to drive like them to get anywhere but at least we use our indicator. I get quite tired and headachy being a passenger all the time especially in the midst of traffic, stopping and starting. I feel almost guilty about it because it’s Peter who has what I think is the pressure of driving, but he prefers it that way and thinks being a passenger is worse! He has really been so great. We drove over to Hollywood Boulevard after deciding to come back tomorrow possibly and film. Soon found Grauman’s Chinese Theatre and checked out all the cement stars foot/handprints and signatures and took a walk along the stars on the footpath. There are heaps, a lot surprisingly I have never heard of. There are little emblems which shows what category of the entertainment industry they are from, Music, Film, TV, Radio. The area becomes a little sleazy after a while which is unfortunate so while heading back to the car we jaywalked and at once got called over by a motorcycle cop but were let off on a warning (how generous). Went back to Sizzlin’ Steaks for tea, got a little wayward on the way but made it back. Place was packed but enjoyed a nice meal. The people have really got me over here, there are so many, and they only seem to care about themselves and of course the money they can make. We saw star maps later for $2.,50. Talk about getting taken for a ride for a song. I suppose it is the service industry which with whom we are constantly dealing. Bought an apple pastry at lunch for $1.25 and got zip apple. Promptly returned it and got our $1.25 back. Spent the evening packing (what a mess) and watching TV “Miami” Nice “Vice” Mice.
AMFAC Hotel, 8601 Lincoln Boulevard, Los Angeles, CA
Hermanus - SOUTH AFRICA
There is no business to be done in a dead planet.( David Brower)
We believe that the future of the industry is closely linked to the search for a coherent and constructive harmony with the environment that surrounds us. Our global commitment begins from the production to our suppliers. In this' optical we commit ourselves to a product providing a low environmental impact.
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Noi crediamo che il futuro dell’industria sia strettamente legato alla ricerca di una coerente e costruttiva sintonia con l’ambiente che la circonda.
Series of Photographs for my University project of 'Environments'. I've chosen to look at the natural human body, with aspects of a natural landscape brought into the photos.
Gloria Sylvia, an access control monitor for Jacobs Technology at the Kennedy Space Center was recently presented NASA's Catch an Environmentalist Award for her efforts in planting a small garden at the gate to the Vehicle Assembly Building. Participating in the presentation were, front row, from the left, Bonnie Hughes, Jacobs Human Resources and Security Group manager, Mike Barber, Jacobs Test and Operations Support Contract Safety and Health, Sylvia, Robert Williams, Jacobs area integrator, Jim Bolton, NASA Vehicle Assembly Building Operations manager and Gary Casteel, Jacobs Asset Management director. Back row, from the left, Frank Kline, NASA's Sustainability Program technical lead, Mike Parrish, Jacobs Project manager-Vehicle Operations, Andrew Allen, Jacobs Technology Vice President and general manager of the Test and Operations Support Contract Group. Photo credit: NASA/Dimitrios Gerondidakis
Riverwalk Landing in Yorktown, Va., overlooks the York River on March 8, 2016. (Photo by Will Parson/Chesapeake Bay Program)
USAGE REQUEST INFORMATION
The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.
A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.
We made this model from discarded paper to celebrate the World Environment Day. It has been installed in the main foyer of Big Cinemas at Pune. We highlighted the edges and creases on this model by adding strips of film posters.
The model is 7 ft high and 10 ft wide.
The base model is a John Montroll design.
Here are the links from the client:
www.facebook.com/album.php?aid=219778&id=368331087958...
For more photographs of the installations and WIP visit:
blogged My Child's Diary (at 18 months)
We use the Ikea step-stool instead of a Learning Tower.
I would love to hear what you think. Thanks!
The Global Learning and Observation to Benefit the Environment (GLOBE) program is a worldwide hands-on, primary and secondary school-based science and education program. Field Training Sessions took place at the Goddard Space Flight Center during The 17th GLOBE Annual Partner Meeting
Credit: NASA/Goddard/Bill Hrybyk
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Today, as an occasional treat, I bought a small apple and almond tart. I was given a lovely canvas bag from the shop. Here in Switzerland, plastic is being very much discouraged to protect our environment.
The Chesapeake Executive Council Meeting is held at the headquarters of the Environmental Protection Agency (EPA) in Washington, D.C., on Oct. 11, 2022. At the meeting, the Council agreed to outline the steps necessary to reach the targets set by the 2014 Chesapeake Watershed Agreement, potentially prioritizing which outcomes should be met by 2025. This critical plan will be unveiled at the 2023 Executive Council meeting, just in time for the Chesapeake Bay Program’s 40th anniversary. (Photo by Will Parson/Chesapeake Bay Program)
USAGE REQUEST INFORMATION
The Chesapeake Bay Program's photographic archive is available for media and non-commercial use at no charge. To request permission, send an email briefly describing the proposed use to requests@chesapeakebay.net. Please do not attach jpegs. Instead, reference the corresponding Flickr URL of the image.
A photo credit mentioning the Chesapeake Bay Program is mandatory. The photograph may not be manipulated in any way or used in any way that suggests approval or endorsement of the Chesapeake Bay Program. Requestors should also respect the publicity rights of individuals photographed, and seek their consent if necessary.
5 June 20012. El Fasher: UNAMID staff (civilian, military and police) commemorate the World Environment Day planting trees at the UNAMID headquarters in El Fasher. Photo by Albert Gonzalez Farran - UNAMID
©GERES
Title : Access to energy services as a route out of poverty
Depuis le début des années 2000, le GERES intervient au Bénin en appui au secteur de la transformation agro-alimentaire artisanale. Au cours de ces années d’expérience, il est apparu évident que les micros et petites entreprises (MPE) rurales étaient limitées dans leur essor par un environnement défavorable : les secteurs d’activités ne sont pas structurés et la population n’a pas accès à des sources d’énergie moderne, ni aux moyens financiers et techniques (formation) permettant la modernisation des procédés.
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Since the early 2000s, GERES has been working in Benin to support the small-scale food-processing sector. Experience over these years has made it clear that the expansion of rural very small and micro-enterprises (VSMEs) is constrained by an unfavourable environment: industrial sectors are unstructured and people do not have access to modern energy sources or the financial and technical resources (training) that would enable them to modernize processes.
The Loyola Association of Students for Sustainability, the Student Government Association and the Environment Program teamed up on Wednesday, April 22, 2015, to host an Earth Day Carnival. The event was designed to help educate students about the importance of recycling.
Photo by Kyle Encar
Take April 22, 2015
Copyright 2015 Loyola University New Orleans
This piece started out as a piece of discarded nail art. It would have hung on the wall vertically, and there would have been a little vase underneath the "flowers". I made an environment for a Fisher Price spaceman (or hazmat tech) and a fat little bee - they live in a world of rocks and flowers.
Read how Kazakhstan is making changes to e-waste disposal through an unusual public-private partnership
Maryland state and federal government officials meet at MedStar Harbor Hospital in the Cherry Hill neighborhood of Baltimore to announce Bipartisan Infrastructure Law funding for cleanup projects throughout the Chesapeake Bay watershed on May 2, 2022. Speakers included MedStar Harbor Hospital president Hill Donaldson, EPA Region Three Regional Administrator Adam Ortiz, EPA Deputy Administrator Janet McCabe, Sen. Ben Cardin, Sen. Chris Van Hollen, Rep. Dutch Ruppersberger, Rep. John Sarbanes, Rep. Kweisi Mfume, Rep. Jamie Raskin, and Maryland State Senator Sarah Elfreth. (Photo by Will Parson/Chesapeake Bay Program)
Features of this house:
Features of this house:
It uses the same space as a regular house
It capture solar energy from its roof
It captures wind energy from its wind turbine
This house will provide its own electric power
It produces fruit trees giving the occupants a small source of income plus year long fruits and vegetables to supplement their pantry also the threes are good for the environment
It has plenty of windows so it can capture even the smallest breeze to cool the house, save energy and provide it with plenty of natural light
It could have goats to provide, milk, meat and a free grass cutting system eliminating the emissions of the lawn mowing equipment
The roof captures rain water for a tilapia or catfish fish farm and also to be used as an irrigation system year long
All water, other that toilet water, can be captured for irrigation, the use of environmentally friendly detergents is recommended so strong Chemicals don't contaminate or kill the trees and plants
It also can hold a half a dozen chicken's providing chicken, eggs and a wake up call in the morning
It uses a compost pile to turn organic matter into fertilizer for the trees and plants
(New Technology) A system could be develop to capture methane from the compost pile to provide the house with heating and cooking gas
Most if not all plastic aluminum, and glass, containers used will be recycled
(New Technology) Surplus electricity could be used to power air compressors to provide a car with environmentally friendly zero emissions power
Only wind and solar energy could be considered truly passive energy efficient gathering devises. Only electric or compressed air power cars can be environmentally friendly and that if the power used to energize them did not came from a nuclear or coal power plant. Working close to home and the development of local grown foods like farmer's markets will reduce carbon imprints huge amounts.
Henk Brandon of Suriname Conservation Foundation introduced both films on Thursday morning, Feb. 11, 2016. Each school was presented with a copy of an SCF documentary for their school library. Students also won door prizes for answering questions during the presentation.
The scenarios from the Arctic Climate Impact Assessment (ACIA) project that temperatures will increase dramatically in the Arctic, more than in many other parts of the world. This leads to effects, such as the decrease of area (e.g. tundra) under continuous permafrost, the northward move of the tree line and the decrease of Arctic Sea Ice. The synthesis is based on several different models and ensables and this map depicts the situation at the end of this century.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: Hugo Ahlenius